Horace X Albums (2)
What The Critics Say
Horace X's hyper-eclectic mixture of dancehall, Celtic, and other styles isn't quite as vivid on Strategy as it was on their previous album, Sackbutt. The musical potpourri seems a bit less distinctive and the individual songs don't stand out as much, partly because of the increased reliance on programmed rhythms and other electronic elements. Nonetheless, this is a fun, danceable album by a tight band. The reggae influence is evident from the opening track, "First Love," as is the juxtaposition of Simon Twitchin's ragga style vocals with Hazel Faibairn's fiddling, which is particularly vital on the album's title track. Meanwhile, the other bandmembers, including Pete Newman on various clarinets and saxophones, do a fine job on this album. Guest musician Mike McGoldrick adds some Eastern European flavor with the low whistle on "She Want," Steve Lockwood plays harmonica on a few tracks, and Tom Harding contributes didgeridoo and tabla to the multicultural stew. The lyrics are mostly unremarkable; for example, they describe love as "a universal language spoken throughout de world/understood by every boy an understood by every girl" on "First Love," and the social commentary of "Puppet Show" says little beyond noting that the media spews out propaganda. Of course, the main focus of this album isn't on the lyrics. Indeed, "A Time for Valerie" and "How Far?" are both instrumentals, "Humanity" is an instrumental remix of "Strategy," and "Skin" features mildly amusing vocal samples that eventually wear out their welcome, although the band itself holds up better. ~ Todd Kristel, All Music Guide
What The Critics Say
This British band has been around a while, but Sackbutt is Horace X's American debut -- and very accomplished it is too. Seen live they're very visual, dressing in dayglo clothes and performing under black lights. But that's irrelevant when it comes to recording -- the question becomes strictly musical. And they're equally vivid there. There's plenty of dancehall, especially in the vocals from Simon Twitchin and Professor X, but they're also, well, a bit of everything. Hazel Fairbairn brings some Irish into the mix with the fiddle, while horns hint at soul, jazz, dance music, and even a little bit of Indian. Voice samples pop in and out of the mix (such as Margaret Thatcher's on "Blind Eye"). There's a great deal going on here -- many layers to be plumbed -- yet the album flows easily. In other words, it's an album for the new United Kingdom of the 21st century, and completely international, but happily avoiding the dreaded 'worldbeat' tag by virtue of having strong groundings in many of the traditions from which they draw. There's plenty of intelligence and integrity within the band, and they pull no punches musically (as "Mr. Simms -- Vampire Mix" shows). And while they rarely get to show virtuosic talents, the musicians can play. Their sense of history extends to punk, and "Dreams -- Half Empty" nods more than a little to the class of '77. A band with a great future -- and from the footage on the enhanced portion of this CD -- a remarkable live act. ~ Chris Nickson, All Music Guide
